Fifth Business (1970) reintroduced Mr. Davies after more than ten years to a very appreciative audience and some of the same characters appear here although the two novels are quite independent. Davies is a thoughtful, tasteful mediator in human affairs and while the earlier book was concerned with "moral bookkeeping," the audit here is psychoanalytical, attempting to release the submerged life of feeling of a rigid rationalist. He's David Staunton, a most successful Toronto lawyer, who suddenly finds he's lost control of himself in a theater shouting "Who killed Boy Staunton" — his father. Staunton senior had been found in his car at the bottom of a harbor with a stone in his mouth — pink granite. After this showy beginning calculated to arrest your attention, Staunton goes to the Jung Institute in Zurich where under the quiet Johanna von Haller he undertakes a Jungian analysis. Dr. von Haller keeps the Jungian cabalism to a minimum although you will be inducted from anima to persona to archetype (the manticore) while Staunton is forced to reconstruct/revise his relationships — primarily the lack of them — with his father, the non-existent women in his life, and his mother whom he was led to suspect had an affair with Dunstan Ramsay (a principal character in the previous book). The last inset which leaves David Staunton still uncommitted and which has also featured some startling circumstantialities suggests that this account may be resumed, if only to determine whether David will continue to live only the half life of the mind (esse in lntellectu solo). One questions whether all readers of the earlier book will be as comfortable in the penumbra of the collective unconscious; still Davies is a donnish, civilized and discreet guide. He also returns the novel to its primary domain so that it serves its resident characters on the level of insight rather than sensation.
Pub Date: Nov. 20, 1972
ISBN: 014303913X
Page Count: 262
Publisher: Viking
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: Nov. 1, 1972
A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.
Pub Date: July 11, 1960
ISBN: 0060935464
Page Count: 323
Publisher: Lippincott
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: July 1, 1960
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
This large, stately, and intensely powerful new novel by the author of Terms of Endearment and The Last Picture Show is constructed around a cattle drive—an epic journey from dry, hard-drinking south Texas, where a band of retired Texas Rangers has been living idly, to the last outpost and the last days of the old, unsettled West in rough Montana. The time is the 1880s. The characters are larger than life and shimmer: Captain Woodrow Call, who leads the drive, is the American type of an unrelentingly righteous man whose values are puritanical and pioneering and whose orders, which his men inevitably follow, lead, toward the end, to their deaths; talkative Gus McCrae, Call's best friend, learned, lenient, almost magically skilled in a crisis, who is one of those who dies; Newt, the unacknowledged 17-year-old son of Captain Call's one period of self-indulgence and the inheritor of what will become a new and kinder West; and whores, drivers, misplaced sheriffs and scattered settlers, all of whom are drawn sharply, engagingly, movingly. As the rag-tag band drives the cattle 3,000 miles northward, only Call fails to learn that his quest to conquer more new territories in the West is futile—it's a quest that perishes as men are killed by natural menaces that soon will be tamed and by half-starved renegades who soon will die at the hands of those less heroic than themselves. McMurtry shows that it is a quest misplaced in history, in a landscape that is bare of buffalo but still mythic; and it is only one of McMurtry's major accomplishments that he does it without forfeiting a grain of the characters' sympathetic power or of the book's considerable suspense. This is a masterly novel. It will appeal to all lovers of fiction of the first order.
Pub Date: June 1, 1985
ISBN: 068487122X
Page Count: 872
Publisher: Simon & Schuster
Review Posted Online: Sept. 30, 2011
Kirkus Reviews Issue: May 15, 1985
IN THE NEWS
SEEN & HEARD
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